I am a recent convert to the work of Raymond Carver. At first, I didn't like it at all. The stories seemed too spare, too minimalist for my taste. But gradually, he won me over. I began to see the beauty and power in his spare prose, in the way he could say so much with so few words.

I still don't regard him as one of the greatest short story writers of the 20th Century (as many seem to), but he certainly was the real thing. His work is important and distinctive, and he proves that in the right hands (but so few writers have such hands) 'less' can indeed mean'more'.

This is the second collection of his stories I have read, and on the whole, I enjoyed this book even more than What We Talk About When We Talk About Love. The stories in this collection are just as powerful and moving as those in the first, but there is a greater variety of themes and styles.

I especially liked the title story, which is a beautiful and poignant meditation on love and loss. In fact, I enjoyed six of the seven stories. The only one that seemed a bit weak was the final one, 'Errand', about the death of Chekhov. This story was quite different in style, substance and purpose from Carver's usual tales, and it suffered because of it. It felt a bit like a departure from his usual style, and not in a good way.

Overall, though, this is a great collection of stories, and I would highly recommend it to anyone who enjoys short fiction. Carver is a master of the form, and his stories are sure to stay with you long after you've finished reading them.

Carver's works are truly remarkable. They are crafted with great care and attention to detail, resulting in texts that evoke a profound sense of emotion and authenticity. I have a deep appreciation for such creations. I long for more works of this caliber. It gives me great joy that I am still following the path set by Carver. His influence on my writing and my perception of literature is undeniable. I strive to emulate his style and capture the essence of his stories in my own works. Each time I read his texts, I am inspired to explore new themes and perspectives, to dig deeper into the human experience and bring out the raw emotions that lie within. I am grateful for the inspiration that Carver provides and look forward to continuing to learn from his works.

In 2016, I first came into contact with the work of Raymond Carver by reading the very good collection "What We Talk About When We Talk About Love", the stories of which formed the basis for the eponymous film by Robert Altman (which I still haven't had the honor to see). Finally, after all this time, I pick up Carver again with this particular collection, which was published just a few days ago in Greek by Metaichmio Publications.

With these stories, which are the last ones the author wrote, he confirms why he is considered one of the leading short story writers. In a few-page stories that don't have a specific beginning or a specific end, he manages to fit in emotions, images, snapshots, capturing entire human lives. He talks about love, loneliness, failed marriages, problems and difficult moments in a marriage or any relationship, with a strong melancholic mood. Carver's language is spare and informative, his gaze sometimes pessimistic, sometimes optimistic, in any case unashamedly realistic and true. He presents people next door to us, with all their weaknesses and insecurities, which of course are common to all.

Certainly his writing and especially his way of thinking may not suit the tastes of many readers, but personally it touches me to a great extent. I really liked all the stories in the collection, but if I had to choose two, it would probably be "Whoever Was Using This Bed" and "Cathedral". However, the choice from so many good stories is really very difficult. For details, I'm not giving five stars: Maybe I'll do it in a next collection of his stories.

I hadn't heard of Raymond Carver before. In fact, I only picked up this book because it was short, and Tab had bought it for a course.

I loved it! I discovered that dirty realism is a name for this style, and it's the style I have really enjoyed in several other books I have read. Many of the quotes I picked out are very simple but feel very powerful at the same time, and this seems characteristic of this style, which is why I love it.

I liked how there were strong connections between the different stories. It felt like there were many snapshots of the same character (apart from the last story on Russia).

Whoever was using this bed: I loved how one image changed the narrator's idea of his bed. This is something I really feel. Our ideas of things and concepts are often associated with specific images, and this was the perfect description of this. "I know I won't ever look at this bed again without remembering it like this."

Intimacy: The awesome line "All my rotten eggs in one basket."

Elephant: I loved the build of all the competing demands on the narrator. It felt oppressive and difficult and just built up so well. I don't really have any specific quotes but just loved the relentless struggle of it all. Laughter can also be sad. "Now, thinking about their laughter, I had to laugh too. Ha, ha, ha. That was exactly the sound I made there at the table - ha, ha, ha - as if I'd read somewhere how to laugh."

I look forward to reading more Carver!

Excellent short stories have the remarkable ability to captivate readers in a concise yet profound manner. They are like little gems that pack a powerful punch within a limited number of words. These stories often explore deep human emotions, complex relationships, and thought-provoking themes. They can make us laugh, cry, or simply stop and reflect on the world around us. The beauty of short stories lies in their ability to distill a powerful message or idea into a compact narrative, leaving a lasting impression on the reader. Whether it's a heartwarming tale of love and sacrifice, a thrilling mystery that keeps us on the edge of our seats, or a philosophical exploration of the meaning of life, excellent short stories have the power to touch our hearts and minds.

A few months ago, as I often did from time to time, I went to the bookstore alone to buy books. Wandering among the book shelves, picking up a few books and flipping through their pages was always something I loved.

While browsing the poetry shelf, Raymond's book "You Don't Know What Love Is" caught my eye. Even though I didn't know the author at all, I decided to buy the book. A few days later, when I examined the book, I thought it couldn't be such a poetry book. "This is not poetry, it's just nonsense," I said and didn't even think it was worthy of being given as a gift to anyone, so I threw it away. (My mother never found out afterwards.)

After some time had passed, when I went back to the bookstore, the book "Fil" caught my attention, but I didn't realize it was by the same author. I bought the book and started reading it. The stories inside appealed to me very much and I finished the book in a very short time. Afterwards, when I was researching the author's other books, when I saw the poetry book again, I couldn't believe it was by the same author.

The stories are always about being alone, having to face one's troubles, and being in the midst of plenty of coffee and cigarettes.

I will open it and read it again from time to time. I loved this book that smelled of loneliness.

Based on my first encounter with Carver, I would lean towards a 3.5+.

The first stories didn't excite me, either due to unfamiliarity with the style or because of the theme. I single out "Cathedral", "Will" and "Elephant". Which I found to be meticulous, slow-burning, without fanfare and with depth.

This sense of mystery in the background makes their reading more of an introspection for the reader rather than an interpretation of the author.

Certainly, I will read Carver again, mainly keeping in mind the bittersweet taste of the last stories.

The real elephant in the room is that Carver is overrated (see what I did there) and his dialogues are like those of the New Greek Cinema of the 80's at the Thessaloniki Festival.

Couples in crisis, alcoholism (not from drugs which are not serious things, the other one is allergic to cocaine!), poverty, dead ends.

Serious themes, not always well executed.

Of course, deep down, a genuine talent is lurking.

But if I were to read stories where almost nothing happens (dramatically) I would look at myself in the mirror in the morning and ask myself, should I shave or cut my veins?

Carver's works often explore the darker side of human nature and the struggles that people face in their daily lives. While his writing style may be unique and his themes thought-provoking, some critics argue that his stories lack action and excitement. However, others appreciate the subtlety and nuance of his characterizations and the way he is able to capture the essence of human relationships.

Despite the mixed reviews, Carver remains an important figure in American literature and his works continue to be studied and analyzed by scholars and readers alike. Whether you love his writing or hate it, there is no denying that he has had a significant impact on the literary world.

The Elephant, Raymond Carver.

Re-reading the Top 10 best short stories 2/10 (not in order).

The characters are somewhat overacted (although in cold blood, there could be more extreme situations than those in this story); the situation is somewhat unreal, or not, depending on how you look at it; the final utopia, unlimited optimism, minimal story. All that against... and yet I love this story. I have always liked it more than others that I recognize as better by Carver.

Why do I like it more than others? Because it searches for your interior. As I said before, it is an ode to optimism and a call to be a better person. I see it that way. Impossible, unachievable, utopian... and yet how wonderful it would be to be like the protagonist of this story, that Elephant that carries everything on its back, with almost nothing in return. It makes you reflect.

The narration sometimes puts you in a bad mood, a fight against all the selfish and parasitic people who surround the protagonist, to end in a dazzling way. A 10.

I was captivated by the author's language.

The way the words were crafted and strung together was truly enchanting.

Each sentence seemed to flow seamlessly, drawing me in and making me eager to read more.

The author's use of vocabulary was rich and diverse, adding depth and nuance to the story.

It was as if I was transported into a different world, completely immersed in the author's creation.

The rhythm and cadence of the language added an extra layer of beauty, making it a pleasure to read aloud.

I found myself highlighting passages and taking notes, so I could remember the wonderful turns of phrase.

Overall, I was thoroughly impressed by the author's language skills and can't wait to read more of their work.

A terrifying book from a very great stylist who plays with forms like playing cards, and as Barbères said, "dead in your health."

This book is truly a remarkable piece of work. The author's unique style and approach to storytelling make it a captivating read from start to finish.

The use of vivid imagery and powerful language draws the reader in and keeps them on the edge of their seat.

It's as if the author is able to create a world within the pages of the book that is both familiar and yet completely different from our own.

Whether you're a fan of literature or simply looking for a good read, this book is definitely worth checking out.

You won't be disappointed.

\\n  4/5\\n

Tres rosas amarillas is the last collection of stories published during the author's lifetime. But it's not the very last one: Si me necesitas, llámame was published posthumously and marks the final point of his work. I will visit it shortly, eager to know the totality of his writings. But for now, I will review this small yellow book. Yellow, like the roses.
In just one hundred pages, divided into seven stories, we once again find the heartbreaking simplicity of his other anthologies. Because that's how he believes – with the ordinary – that the delicate areas of the reader are touched, which other readings don't even manage to brush. And the truth is that I agree with him: they do. In his stories, you won't be able to fully identify with any of his characters. You will do so with a part of their reflections and experiences. Because each of us lives a life. A life that is undoubtedly unique, but at the same time similar to others.
That's why I suffered in Cajas the relocations and was bored by the boredom of old age, and to my surprise, it was the one I enjoyed the most. Quienquiera que hubiera dormido en esta cama made me ashamed of the unfair questions to your partner in the early morning of insomnia. In intimidad, I felt sorry for a contempt that I don't know if it was deserved. Menudo made me want to eat some tripe, despite the stomachache that the double infidelity of the story left me. In El elefante, I was burdened with debts and remembered bad moments suffered because of them. After reading Caballos en la niebla, I feared the unexpected abandonment. And in tres rosas amarillas, I witnessed the death of a writer whom I always wanted to read.
That's why I like Carver. For reminding me that even from the lives that I don't desire, I learn.